Because Selina and her alter-ego don't have massive armies
of freaks and animals, the mass of action material in
Batman
Returns unfortunately relates to the Penguin. The pompous bombast
that accompanies his circus gang of maniacs and marching armies of
fluffy, tuxedoed killers suffers from the same problem as the primary
theme for their leader. Elfman provides a ripping snare rhythm as
compensation for the cartoonish tragedy of their ascent, but in reality,
that tragedy is not convincing in such a carnival atmosphere. The
score's early cues for the circus gang's explosive attacks on Gotham are
afforded the kind of carnival atmosphere Elfman conjured for his
comedies, and it's insufferable in the doses applied here. Lacking
completely in the score is the elegance of the thematic treatment for
Bruce Wayne, and this is yet another step backwards. His contemplative
and troubled motifs are absent. There are no flourishes of the title
theme in the middle portions
Batman Returns that can compete with
the original, in part because Burton diminishes the awe associated with
the character's scenes in this picture. The title theme performances
sound like Elfman forced the demented atmosphere of
Nightbreed
onto them, especially with the funky drum work at the very outset of the
opening titles. All the powerful mystique of the character is gone,
muddying the waters with the style of the villains to such an extent
that you never get the impression from listening to the score that
Batman ever proves victorious. The finale, for instance, is so concerned
with the Penguin's overwrought theatrics (even in death) and Selina's
continued lives (which doesn't really make sense given that Michelle
Pfeiffer's role would never return in the franchise) that the hero is
sold short at a time when audiences need to be reminded that Batman is
indeed the focus of the stories. All of these shortcomings could likely
have been excused, however, if not for the one most fatal flaw in this
sequel score: a poor performance, recording, and mix. This final step
backwards is the most painful, for the original
Batman score was
performed with extremely robust energy under the direction of Shirley
Walker in London and its sheer power was enveloping and awe-inspiring.
Despite all of the technical problems experienced with the original
score's recording, it still embodied the sound of a classic, exuding an
intangible sense of larger-than-life attitude regardless of lingering
issues with sound quality due to challenges with the recording
studio.
Because the production of
Batman Returns was
moved in its entirety from London to Los Angeles, the score for the
sequel was recorded with a regular studio orchestra at Sony's scoring
stage, and the difference between any recordings in London and Los
Angeles has never been more evident. In
Batman Returns, the
timpani do not resound, the chimes are distant, the gong does not
impress, the piano is not sharp, and the brass is completely flat. Take,
for instance, the sixteenth-notes performed by muted trumpets throughout
the battle sequences in
Batman. Due to a combination of
uninspired playing and more deliberate pacing in
Batman Returns,
the heralding trumpets are a valuable asset lost. Along these lines,
incidentally, all discussion about the influence of Bernard Herrmann on
the original score goes out the window with the sequel. Emphasized in
Batman Returns is a lighter chorus, the continued heavy presence
of the organ, and a different array of medium-range drums to spice up
the mix. And, unfortunately, without the depth of the original
ensemble's sound, this alteration doesn't convince. So much of the
dynamic instrumental applications in
Batman are expanded upon in
the sequel, but not in ways that you can really hear and/or appreciate
them. The mix of the score is extremely muted by comparison to
Batman (and much more dry than the previous score's album mix),
reducing the effectiveness of the metallic percussion particularly. What
happened to the wicked combination of gong and cymbal crashes that
provided the first score with so much grace? The bass region in
Batman Returns drones badly due to the overbearing mix of the
organ; so much of the detail is lost in this environment because the
organ and other booming contributors drown out less powerful
instruments. Casual listeners could probably comment that this score
sounds as though it was recorded in a closet with half the number of
players, despite the opposite being true. Ironically, the mix of the
song "Face to Face," co-written by Elfman and the performing group
Siouxsie and the Banchees for the costume ball scene, is a highlight if
only because it features a far more dynamic range than the score (as
well as all three primary themes in the background). There is simply no
substitute for power, and no dull studio orchestra on a poor day --no
matter how brilliantly mixed and rearranged-- can compete with a more
inspired singing and playing force. In its shallow soundscape,
Batman
Returns sounds, for lack of a more precise word,
lame.
The many fans of this score will contend that Elfman's
changed direction with
Batman Returns suits the film well. In
regards to the fact that film is a far more accurate reflection of
Burton's sensibilities, the score is thus a product closer to the true
heart of Elfman's writing, reflecting other popular early scores by the
composer. This isn't an insult, for the score may have been quite good
had Elfman not established the franchise with a completely different and
incredibly successful direction in the previous entry. To aggravate the
situation even further in 1992, Warner Brothers pumped out an
incomprehensible album for
Batman Returns. While significant in
length, shorter cues are haphazardly merged together without
distinction, and with the track breaks occurring at odd moments, the
packaging offers absolutely no help in distinguishing the cues. In fact,
the only track listings on initial pressings existed on the CD itself,
and Warner slapped a sticker with the name of
every other track
on the outer plastic wrap of the product. Within a short time frame in
2010 and 2011, expanded editions of the score were released, first by
itself in a 2-CD set by La-La Land Records and then on CD #5 in the $500
set, "The Danny Elfman and Tim Burton 25th Anniversary Music Box." The
latter disaster of a collection of Elfman scores (reviewed separately at
Filmtracks) treats
Batman Returns badly, reprising the Warner
album's contents with three bonus cues (albeit good ones) and a series
of Penguin-related demos. The 2010 La-La Land product, re-issued
identically by the same label in 2014 as part of a set with
Batman, is by far the superior choice, with a sensible,
chronological presentation followed by alternate takes and emulations of
the album splices for good measure. Unfortunately, the sound quality on
both the expanded albums is no better than that of the 1992 product, an
immense disappointment. In fact, the 2010 2-CD set has an entirely
different mix in places (the gong and anvil in the big opening title
major chord is quite obviously revealed), but its ambience is arguably
worse than the 1992 and 2011 products! Never has such an intelligent
score with so much potential sounded so muted and uninspired on so many
albums. Overall, Elfman gains a point for his loyalty to the original
Batman theme and great new compositional complexities, but
Jonathan Sheffer's conducting, Shawn Murphy's recording and mix, and
subsequent masterings all disrespect the personality and power of the
classic predecessor. Even Elliot Goldenthal's
Batman Forever,
while providing only a faint mutation of Elfman's title theme, better
captures the grand essence of Gotham and its hero.
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